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Sword combat
Sword combat, or fencing, is a sport in which two competitors fight using swords, achieving victory by making contact with their opponent. There are two forms, sport fencing and defensive fencing. Sport fencing was based on the traditional skills of defensive swordsmanship, rising at the end of the 19th century, with the Italian school having modified the historical European martial art of classical fencing, and the French school having later refined the Italian system, popularizing the seven main Forms. Defensive fencing, which has been in use for centuries, is a more vicious form of fencing waged to kill. It played a key part in all three NoHead Wars, as well as numerous other conflicts. Overview Throughout the centuries since the sword’s creation, the art of dueling with them developed into seven “classic” forms and numerous other styles. It was difficult to master for a number of reasons. It had been said that only a mutant could completely master sword combat. All seven traditional sword forms included the same basic techniques as ancient sword-fighting styles, such as defensive postures, overhand strikes, parries, and counters. A riposte was a technique where the user struck an opponent after deflecting or blocking an attack. The sword was a very versatile weapon. It could be wielded one-handed or with both hands. Early in the weapon’s history, when the NoHeads were numerous, the art of sword dueling flourished. In later periods though, only rarely would S.M.S.B. members and police face an adversary with a weapon capable of repelling a sword. Because of the blade’s weight, two-handed slashes were the most common movement. When two swords’ energy shells came in contact with each other, the two repelling forces made the blade appear to be solid. Also, the field that caused the energy to arc back into the hilt caused some gyroscopic effects. Even with an energy shell, the blade still had some resistance to changes in motion. History Early history Fencing traces its roots to the development of swordsmanship for duels and self defense. The ancestor of modern fencing originated in Spain, where several books on fencing were written. It quickly became a subject at Superhero School ever since its inception. In the mix, several mutants, such as Edmund Volaren, would develop many new forms, or "stils", most of which could contribute to Stil III, which was Soresu. Recent history In 2013, Paige Nelson would end the First NoHead War by spearheading the NoHead Cataclysm, personally felling many of the NoHeads within, including the children. Even the NoHead Grandmaster, Mr. Crooked NoHead, was unable to hold out long against Nelson’s righteous intensity. Swordplay was but a sport for the next few years, until the Second NoHead War. In 2019, the S.M.S.B. was created, and swordplay was common for their ranks. The vastly increased skill of both Sebiscuits Cardarphen and Baby Intelligence marked them as two of the finest duelists in the world, with Paige crediting Sebiscuits as the finest Ataru stylist that she had ever seen, and Baby Intelligence recognizing Baby Strength as “the Master of Soresu”. Paige’s Soresu-Ataru combo style also faced its own ultimate test during her confrontation with Mr. Stupid NoHead. NoHead’s advanced combat skills and Dark side powers allowed him to strike down Caleb Hawkins and Jason Williams instantly. Britney Smith and Paige were left alone to battle the vicious NoHead. Britney’s swordsmanship barely enabled her to hold NoHead off before she, too, fell. With the deaths of the police, Paige was forced to fully channel what she knew of her Vaapad. The feedback loop of power formed by Paige’s Vaapad left both combatants in a contest of indefinite length, until Paige managed to seize the tactical advantage, disarming Mr. Stupid NoHead and seemingly defeating the NoHead grandmaster. However, Paige’s apparent victory wouldn’t last long, as Sebiscuits intervened, defecting to the NoHeads and cutting off Paige’s sword hand, leaving her vulnerable to NoHead’s dark powers. Nelson was rescued by Baby Intelligence during her freefall. Sebiscuits, now a NoHead, would spearhead the sack of the police station, personally felling many of the police within, including the children. Even the police swordmaster Cecelia Martez was unable to hold out long against Sebiscuits’ brutal intensity. Sebiscuits would only find his match in his former master; Baby Intelligence’s mastery of Ataru proved to be the perfect foil to the mutant. Merely a week after this encounter, Baby Intelligence bested Mr. Stupid NoHead with a furious demonstration of his own technique. At the same time, Sebiscuits fought Paige. Ultimately, Paige dropped her defenses, leaving her vulnerable to Sebiscuits’ strike. Paige, one of the greatest duelists ever, considered third only to Sebiscuits and Baby Intelligence, was dead. The S.M.S.B. continued to train and practice. By April 2020, Baby Strength was capable enough to hold his own against Brute Gunray and win. In the meantime, Baby Intelligence clashed with Mean King and killed him, putting an end to the NoHeads. Shortly afterwards, Baby Intelligence tracked down Sebiscuits. In one of the greatest sword duels of all time, Intelligence would give ground before Sebiscuits’ relentless attack, guiding the battle to a location of his choice and seizing the tactical advantage. Sebiscuits was dismembered by Baby Intelligence, and left to die on the shore of a lava river. He only survived when Intelligence changed his mind and rescued him. After this, Sebiscuits joined the light side again. Third NoHead War Later, Hell Burnbottom was brought back to life thanks to Whammo Fireball. He initiated a sword duel with Lindsay, who barely lived to share the news. In the following year, there were numerous war casualties. Evans and George Thames were both captured, though they were eventually rescued. However, Burnbottom believed the NoHeads had outgrown the need for swords or sword duels. When he fought Sebiscuits, he disarmed him, leading to them dueling with their powers instead, one of which Burnbottom won. During the Battle of Bast Castle, a sword duel was fought between Whammo Fireball and Telekinibabe, while Burnbottom finally took up his sword once more to fight Lindsay. Later history Many sword duels were fought afterwards, such as the Duel in the MBH or the Duel in Transylvania. Basic moves and maneuvers Body Target Zones Many of the basics of sword combat were established by the Shii-Cho sword form, as it was the first form developed, and was specialized towards training individuals in the use of swords. Attacks and parries in sword combat are described by the body zones for which they target. In idealized sparring drills, most attacks are executed with horizontal swipes, while parries are carried out with vertical blocks meant to push the point of the enemy’s blade away, with the exception of the “Attack 1” and “Parry 1”, which are reversed. Zone 1: The Head. A zone 1 attack consists of a vertical chop at the head, with the goal of vertically bisecting the opponent, and the corresponding parry is a horizontal block. A classic zone 1 attack was typically preceded by a high guard position, though the zone 4 parry position was also used for this purpose. The zone 1 parry position was a horizontal guard, with the blade held at head-height and angled across the body. It was not unheard of for a zone 1 attack to be deflected aside by having a zone 1 parry transition into a zone 2/3 drop parry position. Zone 2: The Right Arm and Side. Zone 2 attacks were sideswipes, with the corresponding counter being a vertical parry position. Shii-Cho sparring drills had the handle held at waist height with the blade extended upwards, though other combat forms employed drop parries with the handle held high. Assuming a duelist’s right arm was his dominant, any strikes against his weapon arm would correspond with Zone 2 attacks. Zone 3: The Left Arm and Side. Zone 3 attacks are much the same as zone 2, albeit the directions are reversed for those whose left arm was his dominant. Assuming this to be true, any strikes against his weapon arm would correspond with Zone 3 attacks. Zone 4: Torso. Zone 4 encompasses the entire midsection and torso — the back, the chest, and the stomach. A successful Zone 4 attack is almost always fatal. As the classic Parry 4 position is a drop parry position with the blade angled downwards behind the duelist’s back, the classic Attack 4 is likely a variation on Zone 2 and 3 attacks. An alternate, albeit more awkward, Parry 4 position has the hilt held behind the back at waist height, with the blade extended upwards. Zone 5 / 6: Zones 5 and 6 referred to the right and left leg, respectively. Zone 5 and 6 attacks were low sideswipes or slashes, whereas the corresponding defensive positions were drop parries with the hilt held at the waist. The Three Rings of Defense *Outer Ring The Outer ring of defense relied on grand sweeping blows to attack at range. The wide attacks took longer to deliver, but were very powerful. The Outer ring consisted of four guard positions, all with the blade held diagonally: the upper right, upper left, lower right, and lower left. *Middle Ring The Middle ring of defense was designed to pick up on quicker blows and block them, though it was also effective for bullet-deflection. The guard positions all featured the blade being held at right angles, with the upper and lower guards being horizontal, while the left and right positions being vertical. *Inner Ring The Inner ring was the last line of defense, dangerous to be attacking or defending from. It was proof against lunging attacks, and relied on parries instead of blocks. It had only a single guard position, with the hilt covering the navel. Attacks would be deflected by angling the blades tip and shunting them aside with the lower third of the blade, facilitating a swift counter towards the opponents chest or abdomen. Marks of Contact All sword forms involve the same marks of contact, describing the objectives, maneuvers to use, and the various outcomes that could arise out of a fight involving swords as weapons. They helped focus a duelist’s attacks and defenses on a few clearer categories, rather than diffusing awareness across an infinite number of possibilities in a duel. *Sun djem The sun djem was the act of disarming the opponent, enhancing their powers to force the blade against the weapon with enough force so the target would lose grip. The objective usually being not to physically harm him/her. The classic Shii-Cho move, the Disarming Slash, was specialized towards executing the sun djem. *Shiim The shiim was a more minute wound to an opponent by the edge of a sword’s blade. The shiim could be applied anywhere on the body, and was not specific to any zone. *Cha mun The cha mun was the amputation an opponent’s weapon-hand or arm. *Cha sai The cha sai was the amputation an opponent’s weapon-arm. *Cha mok The cha mok was the amputation an opponent’s limb, such as an arm or leg. *Shiak The shiak was the act of stabbing an opponent. *Sai cho The sai cho was the decapitation of the opponent. Being a sideswipe at an opponents side and neck, the sai cho corresponded with Zone 2 and 3 attacks. *Sai pok The sai pok was the act of cutting an opponent in half, usually separating his or her legs from the torso at the waist, but vertical bisections corresponding with Zone 1 attacks were not unheard of. *Mou kei The mou kei was an attack that dismembered an opponent through a circular motion of the sword, aimed at the major limbs. The mou kei, being aimed at all major limbs, lashed out at multiple body zones. Sebiscuits’ dismemberment at the City Volcano could be considered a triple cha mok, as it amputated both of his legs (zone 5/ 6) and his left arm (zone 3). Ready stances While all the sword forms had their own unique opening and ready stances, a number of positions were standard to sword combat in general. *Duelist Ready Having much in common with the Ataru guard, the Duelist ready was the most common stance among duelists. The dominant foot was held back, with the blade in a vertical parry position on the dominant side. *Defensive Neutral The differences between the Defensive Neutral and the Duelist Ready were negligible. The blade was still held in a parry position on the dominant side, though the feet were evenly spaced rather than one held back. This position was intended to provide the maximum amount of blade surface area for bullet-deflection, and also to maximize its visual impact as a warning. *Offensive Neutral The feet were evenly spaced, with the blade pointed towards the enemy. The stance was intended to provide the minimum visual blade area for target and tracking. *Center of Being The Center of Being was a stance used in sword combat. It could also be used for meditation. The stance was used by members of the Second S.M.S.B. Users of this stance would hold the sword horizontally, with the sword hilt just below the chin. Moves and maneuvers *Jung The Jung was a 180 degree turn. *Jung mi The Jung mi was a 360 degree spin, used to build momentum for an attack. *Stak The Stak was a 360 degree spin, during which the sword was held one-handed. *Sai The Sai was the act of overleaping an attack at the legs. *Flowing water The Flowing Water cut was a technique based on the principle of using the space created when the opponent withdrew their sword offensively to one’s own advantage. As the opponent pulled their sword back from a bind, the user would follow it with their blade, in effect causing the opponent to pull the user’s blade into themselves. *Falling leaf The Falling Leaf cut was an ancient move from the 15th century that involved the user spinning and making a fast slash at an opponent standing behind them and then return to face the way they were before the maneuver. It was described as spinning one’s feet to “slash from the sky”. *Tolan The Dulon was a sword move where the hilt’s pommel would be held at one’s midsection with the blade 30 degrees up, and would be slashed at high velocity. The name dulon also referred to a solo sword training. *Kai-kan The Kai-kan was not a maneuver per se, but rather a reenactment of a prior sword duel. The Duel in the Bench Store and the Skirmish in New York City could be considered a kai-kan. Form-specific maneuvers As each of the sword combat forms were self-contained martial arts styles, they each possessed moves and maneuvers unique to them. [[Grund (Stil I)|'Stil I: Grund']] *Disarming Slash: A strike directed at the opponent’s weapon in an attempt to rip it out of their grasp or destroy it. This is related to sun djem. *Monster Sweep: A wide sweeping attack in which the duelist struck against multiple enemies. [[Makashi (Form II)|'Form II: Makashi']] *Contentious Opportunity: A tactic based upon recognizing and exploiting an opening in the opponent’s defense before swiftly moving to strike the exposed enemy. *Makashi Riposte: A defensive technique where the duelist slightly alters the angle of an opponent’s attack before quickly retaliating with a counter strike. Form III: Soresu *Draw Closer: It consisted of the duelist telekinetically seizing an opponent and pulling the enemy into the path of his/her blade. Only mutants could do this. *Pushing Slash: The duelist would slash an opponent before pushing him aside (or blasting them aside, regarding mutants). Form IV: Ataru *Bat-Falcon Swoop: Was intended to allow a combatant to quickly strike their opponent without giving them a chance to react. *Saber Swarm: Numerous short strikes were aimed at the adversary. Form V: Djem So *Barrier of Blades: Defended the user from gunfire and redirected some of the incoming bullets. Used only after the 1950s. *Falling Avalanche: An overhand power blow that crashed down upon an opponent with incredible force. *Fluid Riposte: A subtle transition from parrying an attack to a counterstrike. *Shien Deflection: Simultaneously deflect weapons fire and leap towards an opponent. [[Niman (Form VI)|'Form VI: Niman']] *Circle of Shelter: A technique where the duelist creates a protected area around themselves and their allies, making it difficult for enemies to penetrate. *Deflecting Slash: A technique where the duelist redirects the momentum generated by deflecting an enemy projectile into a slashing attack at an adjacent target. This could only be done with energy swords. [[Brosartt (Stil VIII)|'Stil VIII: Brosartt']] *Assured Strike: Trading sheer power for a near-certainty of landing a hit. *Verpus’ Ferocity: Involved “ferocious” attacking of an opponent. *Swift Flank: The user leaped or dashed around an opponent to make a quick strike. The speed of the maneuver was intended to catch opponents off guard. *Tempered Aggression: Used to describe the ferocity of the Vaapad form, but with more control against succumbing to the dark side even in the heat of battle. Nokaa *High Ground Defense: Usually involves environment, combatants made use of large amounts of terrain, trying to maneuver their opponents into vulnerable areas during the course of battles that involved Nokaa techniques. *Unhindered Charge: Rapid movement towards the opponent, ignoring difficult terrain and obstacles. Dual combat *Twin Strike: A duel-wielding strike that the character simultaneously swings both swords to act as a strong-attack. Both swords meet the target or object. *Rising Whirlwhind: A duelist swings his swords about his body, creating a brilliant whirlwind. This works best for the NoHeads. Triackta *Pass The Blade: The duelist deactivated his blade as he attacks, bypassing the opponent’s block before drawing it into the hapless foe. Used only with energy swords. *Unbalancing Block: The duelist caught the opponent’s blade with his own before momentarily deactivating it, causing the opponent to stumble and leave himself open. Invented by Justin Keith. Training methods The various sword training methods were devised by numerous people from centuries past, with other organizations borrowing elements for their own use. Most of the training elements were established by the Shii-Cho, which would continue to find a niche as a tutorial form. Although early level Shii-Cho bullet-deflect training was conducted, later training was conducted through the use of sequences and velocities, the continuous repetition, making the moves instinctive reflexes. These training regimens were carried over to all following sword combat forms, which used similar methods. Sequences Sequences were precisely choreographed series of attacks and parries that flowed together smoothly and were used during combat. Each form of sword combat had its own sequences, and there were hundreds of different sequences which could be applied to various combat situations. Some believed that using sequences in combat was superior to using individual moves, because taking time to consider and use moves individually in combat was slow and inefficient, and using sequences instead of individualized moves was faster and more fluid, providing significant advantages. Sparring Sparring was mock combat between two duelists. Sparring sessions provided novices with the opportunity to test their skills against an equal or greater opponent, and learn from their mistakes. Many fully trained duelists would take to frequent sparring sessions with contemporaries to ensure that their skills didn’t atrophy. While most sparring matches were relatively free-form, there were certain styles of matches governed by a strict set of rules. These more specialized matches were intended to develop skills in specific ways, such as developing timing or consistency. Tolan The term “tolan” typically referred to a solo sword training exercise in which a student practiced sequences of moves against imaginary opponents. Velocities Velocities involved two students practicing sequences of attacks and parries against each other, repeating the same patterns over and over, while constantly increasing the speed of the movements until one opponent got hit, or decided to yield. Twin Suns In this form of practice, two mutants would use their powers to rise and land like two suns crossing the sky. It required a great mastery in sword combat, high attunement with the light side and precise timing. This technique required two mutants to stand at the opposite ends of an open area. Then the combatants would start running at each other and leap high toward the opponent. While in the air the mutants would activate their swords and when crossed beside in mid-air, they would strike at one another, trying to harmlessly cut a piece of opponent’s clothing and then detract the sword before landing on the ground. Volaren’s cadences Volaren’s cadences were a series of sword training techniques developed by the famed mutant, Edmund Volaren. In each of Edmund Volaren’s cadences, the primary practice is to stand in a circle of candles with ball bearings atop them, and attempt to strike the ball bearings without hitting the candles. As the duelist proceeds through each of the cadences, the number of candles would be incrementally increased until the fifth, where the duelist will have achieved such a state of mastery that the candles are unnecessary, as the duelist will simply know when he has performed the sequence correctly. Trial of Skill The Trial of Skill was one of the oldest trials in the battery of tests preferred by the Order of the NoHeads. While the test did consist of numerous displays of sword technique, the main thing that the battlemaster looked for when judging a potential NoHead was their ability to avoid distraction through self-discipline. Before its formalization, the trial was made up of acrobatic feats, while telekinetically levitating objects in the midst of storms. As the test was incorporated into the more standard academy testing, the High Council required that each participant face off against some form of adversary, though the individual or individuals they faced varied in allegiance, and could be made of flesh and blood or a clever simulacrum created from archived data. In some cases, apprentices were forced to compete with the battlemaster in a duel, or even the Grandmaster, and outlast their attacks. Other students might face many opponents, some of them attacking with a sword, others manipulating perception or altering the environment in the chamber. Additionally, the Council could send any number of training robots to test the stamina of a young NoHead apprentice. Individual fighting Stils The Ten Stils Stil I: Grund As the most ancient style of sword combat, Grund was developed centuries before 2020. Many of the maneuvers, such as attacks or parries, remained unchanged, as the key principles of the old fencing methods continued to be incorporated. The simplicity and persistent methods of the form led it to being dubbed the “Beginner Stil”. Grund swordplay was simplistic and raw. However, less adept practitioners displayed much more basic and somewhat clumsy performance. In combat, Stil I encouraged deliberate tactics, calling for continuous, step-by-step advancement while cutting off the opponent’s angles. Grund was specialized towards engaging multiple opponents, the wide, sweeping motions being ideally suited towards attacking numerous adversaries. However, Stil I was not as useful against single opponents, as such enemies had complete mobility and could find a weakness in Grund’s relatively clumsy bladework. Grund fostered an emotionally-heated mindset, which resulted in the considerable temptation to execute combat with lethal intent, requiring great restraint to exercise the form without going too far. Despite the pull to kill, the style was designed for the purpose of disarming without seriously injuring. As the most simplistic form, Grund was the first form taught to S.M.S.B. members. Stil I training provided the basic knowledge of the sword-fighting principles and bullet-deflection skill that was required for practice of all the other forms. Under Matthew, training was conducted through the use of sequences and velocities, the continuous repetition making the moves instinctive reflexes. These training regimens were carried over to all following sword combat forms, which used similar methods. Grund philosophy emphasized victory without injury, and as such, the sun djem mark of contact was traditionally employed by Stil I practitioners. Keeping with the use of sun djem, one of the attacks utilized by Form I practitioners was referred to as the “Disarming Slash”, consisting of a strike directed at the opponent’s weapon in an attempt to rip it out of their grasp. Form II: Makashi Makashi was the most dueling-centric of the seven forms. Form II’s primary purpose was to serve as a counter to the first form; Shii-Cho. Makashi relied on precision swordplay to counter the sweeping movements demonstrated by Shii-Cho, and bore a heavy focus on protecting one’s weapon to avoid being disarmed, the primary goal of Form I. Form II emphasized fluid motion and anticipation of a weapon being swung at its target, and so required very fluid movements of both the blade and the body. Timing, accuracy, and skill, rather than strength, were relied-upon to defeat one’s opponent. With a skilled practitioner, the results were deadly. Makashi users were often elegant, precise, calm, confident to the point of arrogance (as befit Hell Burnbottom’s personality). Form II users were supremely confident in their chances for victory, and often looked so relaxed when they were fighting they even appeared to be dancing. Makashi duelists also trained themselves to avoid enslavement to form, as such enslavement opened the practitioner to be defeated by predictability and the unexpected. Form II carried emphasis on blade manipulation, as well as many fluid one-handed moves. Form III: Soresu Soresu, the calmest and most defensive of all the Forms, was eventually being refined into the third form of sword combat, referred to by the same name. Form III attempted to balance all elements of sword combat, combining the techniques from Forms that came before into a less intensely demanding combat style. In practice, Form VI was a combination of the other forms (Forms I, II, V, and VI), and all of them in moderation. In the blending, much of the individuality was lost, but the strengths were spread evenly, and there was little weakness in it. Due to its “jack-of-all-trades” nature, the success of this form was largely dependent on the practitioner’s intuition, improvisation, and creativity in combat rather than the rote responses derived from other forms. This broad generalization made Form III well suited for diplomats, as they could spend their time training in the areas of politics and negotiation instead of combat training. Form IV: Ataru Ataru was an aggressive combat form relying on a combination of power, strength, and speed. Practitioners of Ataru were always on the offensive, attacking with wide, fast, and powerful swings, constantly calling upon their powers (if they had them) to aid in their movements and attacks. By allowing their powers to consume their reflexes, they could overcome their physical limitations (including size, as was the case with Baby Intelligence) and perform amazing feats of acrobatics, such as somersaults and backflips, not only for attack, but also to evade the attacks and strikes of their opponents. The standard components of Form IV focused on application of and smooth transition between the three axes of rotation in a three-dimensional space; the su ma. Specifically, the jung su ma (spinning), ton su ma (somersaults), and en su ma (cartwheels). Those who used Form IV could move at high speeds and could rain strong blows, jumping and attacking through the air. Powerful and quick spinning attacks could be utilized from all angles, either from ground or air. A master in Ataru combat could appear like a blur to their opponents, attacking from all directions — from the front, the sides, overhead, or behind. Their powers not only allowed them to perform athletic feats not possible otherwise, but it also helped guide their actions and movements in combat. Lindsay Kellerman’s backflip upon being kicked in the head is a perfect example of a Form IV recovery, redirecting the kinetic energy. Form V: Djem So Form V was created by Form VI masters who desired a more offensive style, since the defensive nature of Form VI could lead to prolonged combat, sometimes dangerously so. It evolved into an accepted style by combining the defensive maneuvers of Form VI with the more aggressive philosophy and tactics of Form II. Form V also required a higher level of physical strength than the other sword forms, due to its focus on complete domination of opponents. The form was developed alongside Form IV at a time when knights were increasingly called upon to actively keep the peace. Form V had two distinct variations: Shien and Djem So. Classic Form V, Shien was developed first. Known as the “Perseverance Form”, Shien was designed to protect against enemy gunfire and strikes without compromising one’s ability to launch powerful counterattacks. With its focus against gunfire, Shien kept in mind that users were often outnumbered by their opponents and needed to defend themselves while retaining offensive capability. However, it lacked effectiveness against single opponents. Shien practitioners were known to favor, or at least regularly utilize, reversed grips. Whereas Shien specialized in bullet-deflection, the more advanced Djem So focused on sword dueling. Utilizing a combination of blocks and parries, a Djem So user maintained a proper foundation in terms of defense against both ranged and melee attacks, but rather than counter only when necessary as per Niman training regimens, Djem So actively pressed the offense. Djem So placed a heavy focus on brute strength, utilizing wide, powerful strikes and parries. Power attacks from a Djem So user could even knock an opponent back just through sheer kinetic force, throwing them off balance and leaving them vulnerable to further brute force strikes and power blows that sought not just to penetrate an opponent’s defense, but drive them back and leave them unable to counter. Form VI: Niman Invented in 1959, the original purpose of the Niman form was to counter gun-wielding opponents, as the previous combat styles focused on sword dueling. Becoming the most defensive of the seven forms, Niman utilized tight moves, subtle dodges and short sweeps designed to provide maximum defensive coverage, leaving the duelist less exposed to ranged fire. Over time, Form VI came to transcend this basic origin and become an expression of non-aggressive S.M.S.B. philosophy. Niman utilized motions that occurred very close to the body, in an attempt to achieve near-total protection and expend as little energy as possible while executing moves. Form VI stressed quick reflexes and fast positional transition, in order to overcome the rapidity with which a gun could be fired. This technique minimized the body’s exposure, making a well-trained practitioner nearly invincible. Form VI involved preparation for prolonged battles where the user observed and learned as much as possible about their opponent’s or opponents’ technique while engaged in combat. Also, by being more capable in lengthy battles, a Niman user had the ability to gain control of a combat situation, creating multiple options for the person employing the form. A Form VI user could choose to kill, disarm, or even reason with their opponent. Truly focused masters of Niman were very formidable due to their strong defense technique. However, Form VI merely facilitated survival rather than victory. Form VI initiates were more than capable of defending themselves from attack, but they needed a large amount of experience to learn how to effectively counter-attack and entrap opponents. Masters had to maintain an incredibly strong focus on the center of the combat circle, since the defensive tactics of the form included guards and parries engaged very close to the body. Duelists who left small lapses in their otherwise strong defense left little room to avoid injury. Stil VII: Eclain Eclain is an unpopular Form, according to Baby Intelligence, though next to nothing is actually known about the seventh Stil. Stil VIII: Brosartt Brosartt was described as the most vicious stil of sword combat, and was said to be filled with both fury and “malignant grace.” The form came to be known as the most difficult and demanding in all of saber combat. Skilled combatants with Brosartt were said to be able to “eviscerate a lone enemy.” According to Mr. Stupid NoHead, the form was both chaotic and erratic, with a heavy focus on offense. Police battlemaster Cecelia Martez listed bold, direct motions as characteristics of Brosartt, qualifying them as more open and kinetic than Form V, but with a less elaborate appearance than Ataru. S.M.S.B. leader Baby Intelligence contrasted the tactics of Brosartt as not nearly as graceful or linked as those of Ataru, instead referring to them as “seemingly unconnected staccato sequences.” He also listed one of the strengths of the form as its unpredictability. The form was said to necessitate greater energy than Form V, due to a broader wielding of a user’s focus and a deeper emotional link. Despite the challenges inherent in the use of the form, it could serve as a pathway to considerable power. Brosartt was described as more than a fighting style; it was a state of mind that led through the penumbra of the Darkness, requiring the user to enjoy the fight, and relish the satisfaction of winning. The practitioner of Brosartt would accept the fury of their opponent, transforming them into one half of a superconducting loop, with the other half being the power of darkness inherent in the opponent. The form was also mentioned with a cautionary warning by the police that use of Brosartt led the user perilously close to the Darkness due to its focuses. Brosartt required a barely contained explosion of power essential to all variations of Form VIII as another prerequisite for its use. The form’s attacks appeared to be unconnected, its motions seemingly unpolished to an untrained observer. Stil IX: Saacad Saacad was described as the boldest form. It was invented by cousins Thomas and Ramona Meyer. It was said that a Form IX master can "commit genocide without a trace". Form X Stil X is the most ancient and mysterious Stil, having been invented, allegedly, by Phillip Gogan in the B.C. era. Other fighting methods Jar-sa An obscure sword technique, Jar-sa was one of the fighting forms that Mr. Stupid NoHead trained Rotta Hecks in. Beyond the fact that one of these initiates used Jar-sa to counter a Niman move, next to nothing is known of the style. Su ma Su ma was the use of rotation in the S.M.S.B.’s sword combat style, it was composed by three forms. One, the ton su ma, was the use of somersaults in combat. Another, the en su ma was the use of cartwheels in combat. Weapon-specific Fighting Stils Due to the incredible variations in swords, and the various specialized weapons available, fighting and training methods for the use of these various implements were required. Most weapon variations were fairly minute changes in the size and shape of the sword hilt, with the affects on combat being negligible. Curved-hilt swords allowed for greater precision and easier one-handed wielding, while Long-handle swords allowed for improved leverage and power. Dual-phase swords allowed for rapid changes in blade-length, and could be used to surprise enemies, but required no dedicated methods of specialized training beyond personal familiarity. However, other variations on armament, such as double-bladed swords or the wielding of dual-blades, required intense specialized training due to the difficulty in using such weapons. Dual combat These weapons were utilized by the Viskeras and were designed for the express purpose of being dual-wielded. Soresu, the dual-blade style developed by the Royale Lamateres of the Keral Ney, was named for the dual triumvirate of the Keral deities. The style was adopted by the Legions of Metta, a group of Dark Siders responsible for the creation of the NoHeads. After the defeat of the Legion at the hands of the civilians, Soresu was adopted into general society, eventually being refined into the sixth form of sword combat, referred to by the same name. Both styles predated the invention and usage of swords, but being designed to be practiced with swords, they were easily adapted. In addition, the word “Jar’Kai” became a blanket term for dual-blade combat in general, leading to the birth of the term “Jar’Kai tactic”, which was to simply employ two blades in combat, regardless of whether one had received training in any dual-blade fighting style. Dual-blade fighters, whether classical Soresu duelists or individuals applying the Jar’Kai tactic, were able to maintain a strong offense, as the speed of attack that two blades allowed would overwhelm most opponents. A typical maneuver was to continually attack with one blade while relying on the other for defensive coverage, ensuring that the duelist could keep up his guard even as he attacked. However, it was common that both blades be used for offensive purposes, keeping up a continuous wave-front assault. Though a complete fighting system in and of itself, Jar’Kai was easily adapted to other styles. After beginning his tutelage under Mr. Stupid NoHead, Sebiscuits Cardarphen quickly applied Makashi techniques to his practice of Jar’Kai. As Makashi was Hell Burnbottom’s favored form (albeit coupled with Brosartt), Baby Intelligence was able to recognize his training techniques in Cardarphen’s fighting abilities during the Fight for Sebiscuits, stating as much. Centauri also infused Jar’Kai tactics into his own Vaapad style while on a mission in Ontario. Double-bladed sword combat The primary purpose of the double-bladed sword was to allow for blocking two attacks at once, as the extended length allowed for better blocking and parrying. It was also useful for achieving a faster rate of attack, unleashing a rapid assault with only a minimum of movement, “more slaughter per swing” as some put it. In addition to the practical benefits of the weapon, it also possessed a great psychological impact. The dual-blades increased the visual impact of the weapon, and in combat, opponents would intuitively try to track the blades separately rather than as a single weapon, overwhelming them. However, despite all of the advantages offered by the weapon, its weaknesses were equally obvious. Special training was required to wield the weapon effectively, with those attempting to use it without such discipline likely to bisect or impale themselves. The techniques employable with a double-bladed sword were extremely limited, as the second blade rendered many positions and movements impossible to execute, or required the wielder to twist himself awkwardly around the weapon to do so. Many techniques required the user to perform elaborate flourishes in order to move the staff around their body, leaving them open, and any sort of fighting method that focused on power or penetration was difficult to apply. Also, the enlarged hilt common to most double-bladed swords presented a large target, difficult to defend. Opponents would often attempt to employ sun djem contact, with even experienced staff wielders being vulnerable to this tactic. Behind the scenes Swords, and by extension sword combat, were inspired by the pirate and romantic films of the 1940s, which heavily featured rapier fencing and the like. In keeping with these romanticized depictions of fighting, the swords were intended to represent the honor and chivalry inherent in the S.M.S.B. The idea of the swords’ energy shells was that in an era of artillery weapons, swords could be used to deflect the rays, giving birth to the idea of bullet-deflection. As D. Isaac Thomas said, “You know the phrase, 'Never bring a sword to a gunfight...' unless there’s energy on the table!” He wanted the earliest sword duels to feature a very oriental style of fencing, reminiscent of Japanese fighting styles, which involved a great deal of honor and spirituality. The original sword duel in was designed by Thomas himself. It included dueling on all levels, although three-way duels would not be introduced until . As the series carried on, Thomas rethought the fighting styles. He decided to make them “faster and more intense,” symbolizing the growth of the S.M.S.B. members, and their increasing mastery of the weapon. One-handed fighting methods resembling European rapier fencing came to be included. The choreography of the duels in Book IV and Book V was also used to show Baby Intelligence’s development as a character. An Ended Generation was crafted to show Baby Intelligence fighting as hard as he was able against the bitter enemy of Mean King, though the duel in The Final Chapter was more centered on the emotional context of the fight. When the prequel series began production, D. Isaac Thomas completely rethought the S.M.S.B. fighting styles. He envisioned that during this time period, Baby Intelligence and Sebiscuits had reached their peak in terms of martial arts development, so the choreography had to be a great deal faster and more sophisticated. Thomas choreographed the duels as what he described as “a chessgame played at a thousand miles an hour,” with every move being analogous to a check as portrayed. On the panels, almost every sword strike was drawn as a blur. The ten stils of sword combat received their first description and elaboration in the Saber Danger Combat article released by Melinda Reid. Very soon after, Thomas declared them to be canon. Appearances * * * * * * * * * * * * * * * * * * * * * * * * *''Maze of Darkness'' * *''Boys vs. Girls'' trilogy * * Category:Sword combat